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21 Jan 2011

Kalmar Konstmuseum: Oscar Guermouche: mine´s bigger than yours.

Oscar Guermouche: videostill from Ordnung muss sein, 2010

Oscar Guermouche: mine´s bigger than yours.
Kalmar Konstmuseum


11th December 2010 – 13th March 2011
An artist book is published by the artist in connection to the exhibition (only in Swedish), for more information, please contact the Museum.

Martin Schibli
Director of exhibitions
+ 46 480 426282
+ 46 480 426280

Kalmar Konstmuseum
SE 392 33 Kalmar

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Kalmar Konstmuseum is proud to be able to present the largest exhibition to date of the work of artist Oscar Guermouche. Guermouche was born in Stockholm in 1977 and grew up in Kalmar. Since 2007 he once again lives and works in Kalmar. He graduated from Konstfack (the University College of Arts, Crafts and Design) in the spring of 2009 and was one of the artists involved in the “Konstfack scandals” that year. Guermouche’s work has been shown at Kalmar Konstmuseum previously as part of the exhibitions Between Reality and Fairytales (2007) and Friction and Conflict (2008), and in several of the museum’s exhibitions in Russia and Belarus during the past year.  

Guermouche’s work is usually based on his own personal experiences, and can at times be almost autobiographical. That means the starting point of the work is often the construction of the subject. As a result, his art also poses questions about the development and structure of Swedish ideology—about its foundations. Guermouche touches on the history of art in Sweden, as well as the country’s school system, military service in elite units, and our concept of masculinity. His work Vi vill åka till Moskva (We Want to Go to Moscow), in which verses from songs sung by special forces soldiers are applied to the Swedish flag, received a great deal of attention when it was shown in Kalmar Konstmuseum’s Friction and Conflict in 2008 and at the Konstfack graduation exhibition in 2009.

The exhibition Mine’s Bigger than Yours had been produced especially for Kalmar Konstmuseum and comprises almost exclusively new works. In the various components of the show, Guermouche takes on self-image and sexual expression in a variety of masculine identities. By transposing and combining textual quotations, objects, and images, Guermouche points out the connections between military service, sexual exploits, internet pornography, and literary descriptions of the male body. The works are rooted in the 1990s, during Guermouche’s teens and early twenties, and in some of the media sources and contexts that influenced him at the time.